fume to the flower;
it must help to illustrate the thing itself. The moment we find
this orientalism (and I am using the word in its broadest sense)
covering, and thus distorting the straight line of pure music,
then we have national music so-called, a music which derives
its name and fame from the clothes it wears and not from that
strange language of the soul, the "why" of which no man has
ever discovered.

XIII

EARLY INSTRUMENTAL FORMS

Referring to some newspaper reports which he knew to be
without foundation, Bismarck once said, "Newspapers are simply
a union of printer's ink and paper." Omitting the implied slur
we might say the same of printed music and printed criticism;
therefore, in considering printed music we must, first of all,
remember that it is the letter of the law which kills. We must
look deeper, and be able to translate sounds back into the
emotions which caused them. There is no right or wrong way
to give utterance to music. There is but _one_ way, namely,
through the living, vital expression of the content of the
music; all else is not music but mere pleasure for the ear,
a thing of the senses. For the time being we must see through
the composer's eyes and hear through his ears. In other words,
we must think in his language. The process of creating music is
often, to a great extent, beyond the control of the composer,
just as is the case with the novelist and his characters. The
language through which musical thought is expressed, however, is
a different thing, and it is this process of developing musical
speech until it has become capable of saying for us that which,
in our spoken language, must ever remain unsaid, that I shall
try to make clear in our consideration of form in music.

Until the very end of the fifteenth century, music, so far
as we know, had no language of its own, that is to say,
it was not recognized as a medium for expressing thought or
emotion. Josquin des Pres (born at Conde in the north of France
in 1450, died 1521) was the first to attempt the expression
of thought in sound. Luther, in rebelling against Rome, also
overturned the music of the church in Germany. He incorporated
many folk songs into the music of the Protestant church and
discarded the old Gregorian chant (which was vague in rhythm,
or, rather, wholly without rhythm), calling it asinine braying.

While Luther was paving the way for Bach by encouraging
church music to be something more than me